Romantic Music is a musicological term referring to a particular period, theory, compositional practice, and canon in European music history, from about 1815 to 1910. It should be noted that "romantic music" and the polyseme phrase "Romantic music" have two essentially different meanings. The first, "romantic music," is commonly used to indicate any kind of music which supposedly expresses or encourages tender emotions of intimate personal attraction, attachment, or "love." Only a minor part of "romantic" music is "Romantic," and vice-versa.

Romantic music as a movement refers to the expression and expansion of musical ideas established in earlier periods, such as the classical period. Romanticism does not necessarily apply to romantic love, but that theme was prevalent in many works composed during this time period. More appropriately, romanticism describes the expansion of formal structures within a composition, making the pieces more passionate and expressive. Because of the expansion of form (those elements pertaining to form, key, instrumentation and the likes) within a typical composition, it became easier to identify an artist based on the work. For example, Beethoven favored a smooth transition from the 3rd to 4th movement in his symphonies, and thus his pieces are more distinguishable. Overall, composers during this time expanded on formal ideas in a new and exciting way.

Romantic music is related to romanticism in literature, visual arts, and philosophy, though the conventional time periods used in musicology are very different from their counterparts in the other arts, which define "romantic" as running from the 1780s to the 1840s. The Romantic movement held that not all truth could be deduced from axioms, that there were inescapable realities in the world which could only be reached through emotion, feeling and intuition. Romantic music struggled to increase emotional expression and power to describe these deeper truths, while preserving or even extending the formal structures from the classical period.

Trends of the 19th century

Musical language

Music theorists of this era established the concept of tonality to describe the harmonic vocabulary inherited from the Baroque and Classical periods. Composers sought to fuse the large structural harmonic planning demonstrated by earlier masters such as Bach, Haydn, Mozart, and Beethoven with further chromatic innovations, in order to achieve greater fluidity and contrast, and to meet the needs of longer works. Chromaticism grew more varied, as did dissonances and their resolution. Composers modulated to increasingly remote keys, and their music often prepared the listener less for these modulations than the music of the classical era. Sometimes, instead of a pivot chord, a pivot note was used. The properties of the diminished seventh and related chords, which facilitate modulation to many keys, were also extensively exploited. Composers such as Beethoven and, later, Richard Wagner expanded the harmonic language with previously-unused chords, or innovative chord progressions. Much has been written, for example, about Wagner's Tristan chord, found near the opening of Tristan und Isolde, and its precise harmonic function.

Some composers analogized music to poetry and its rhapsodic and narrative structures, while creating a more systematic basis for the composing and performing of concert music. Music theorists of this era codified previous practices, such as the sonata form, while composers extended them. There was an increasing focus on melodies and themes, as well as an explosion in the composition of songs. The emphasis on melody found expression in the increasingly extensive use of cyclic form, which was an important unifying device for some of the longer pieces that became common during the period.

The greater harmonic elusiveness and fluidity, the longer melodies, poesis as the basis of expression, and the use of literary inspirations were all present prior to this period. However, some composers of the Romantic period adopted them as the central pursuit of music itself. Composers were also influenced by technological advances, including an increase in the range and power of the piano and the improved chromatic abilities and greater projection of the instruments of the symphony orchestra.

Non-musical influences

One of the controversies that raged through this period was the relationship of music to external texts or sources. While program music was common before the 19th century, the conflict between formal and external inspiration became an important aesthetic issue for some composers.

During the 1830sHector Berlioz's Symphonie fantastique, which was presented with an extensive program text, caused many critics and academics to pick up their pens. Prominent among the detractors was François-Joseph Fétis, the head of the newly-founded Brussels Conservatory, who declared that the work was "not music". Robert Schumann defended the work, but not the program, saying that bad titles would not hurt good music, but good titles could not save a bad work. Franz Liszt was one of the prominent defenders of extra-musical inspiration.

This rift grew, with polemics delivered from both sides. For the supporters of "absolute" music, formal perfection rested on musical expression that obeys the schematics laid down in previous works, most notably the sonata form then being codified. To the adherents of program music, the rhapsodic expression of poetry or some other external text was, itself, a form. They argued that for the artist to bring his life into a work, the form must follow the narrative. Both sides used Beethoven as inspiration and justification. The rift was exemplified by the conflict between followers of Johannes Brahms and Richard Wagner: Brahms' disciples took him to be a pinnacle of absolute music, while Wagnerites put their faith in the poetic "substance" shaping the harmonic and melodic flow of his music.

Events and changes that happen in society such as ideas, attitudes, discoveries, inventions, and historical events always affect music (Schmidt-Jones 3). For example, the Industrial Revolution was in full effect by the late eighteenth early nineteenth centuries (Schmidt-Jones 3). This event had a very profound effect on music: there were major improvements in the mechanical valves, and keys that most woodwinds and brass instruments depend on (Schmidt-Jones 3). The new and innovative instruments could be played with more ease and they were more reliable (Schmidt-Jones 3). The new instruments often had a bigger, fuller, better-tuned sound (Schmidt-Jones 3).

Another development that had an effect on music was the rise of the middle class. Composers, before this period, lived on the patronage of the aristocracy (Schmidt-Jones 3). Many times their audience was small, composed mostly of the upper class and individuals who were knowledgeable about music (Schmidt-Jones 3). The Romantic composers, on the other hand, often wrote for public concerts and festivals, with large audiences of paying customers, who had not necessarily had any music lessons (Schmidt-Jones 3). Composers of the Romantic Era, like Elgar, showed the world that there should be “no segregation of musical tastes” (Young, A History of British Music 525) and that the “purpose was to write music that was to be heard” (Young, A History of British Music 527).

19th-century opera

In opera, the forms for individual numbers that had been established in classical and baroque opera were more loosely used. By the time Wagner's operas were performed, arias, choruses, recitatives and ensemble pieces often cannot easily be distinguished from each other in the continuous, through-composed music.

The decline of castrati led to the heroic leading role in many operas being ascribed to the tenor voice. The chorus was often given a more important role.

In France, operas such as Bizet's Carmen are typical, but towards the end of the Romantic period, verismo opera became popular, particularly in Italy. It depicted realistic, rather than historical or mythological, subjects.

Nationalism

The increasing importance of nationalism as a political force in the 19th century was mirrored in music and the other arts. Many composers expressed their nationalism by incorporating elements unique to their native cultures, such as folk song, dances, and legendary histories. In addition to these exterior elements, there was an increasing diversification of musical language, as composers used elements of rhythm, melody, and modality characteristic of their respective nations.

Many composers wrote nationalist music, especially towards the middle and end of the 19th century. Mikhail Glinka's operas, for example, are on specifically Russian subjects, while Bedřich Smetana and Antonín Dvořák both used rhythms and themes from Czech folk dances and songs. Late in the 19th century, Jean Sibelius wrote music based on the Finnish epic, the Kalevala and his piece 'Finlandia' became a symbol of Finnish nationalism. Chopin wrote in forms like the polonaise and mazurka, that were derived from Polish folk music. Many Russian composers, for example Balakirev, Cui, Borodin, Rimsky-Korsakov shared the common dream to write music that was inspired by Russian folk music.

Chronology

Classical roots (1780-1800)

In literature, the Romantic period is often taken to start in 1770s or 1780s Germany with the movement known as Sturm und Drang ("storm and struggle") attended by a greater regard for Shakespeare and Homer, and for folk sagas, whether genuine or Ossian. It affected writers including Goethe and Schiller, while in Scotland Robert Burns began setting down folk music.Template:Fact This literary movement is reflected in the music of contemporary composers, including Mozart's German operas, Haydn's so-called Sturm und Drang symphonies, the lyrics that composers (particularly Schubert) chose for their Lieder, and a gradual increase in the violence of emotion that music expressed. As long as most composers relied on royal or court patronage, their opportunity to engage in "romanticism and revolt" was limited. Mozart's troubles in the banning of his The Marriage of Figaro as revolutionary are a case in point.

Romanticism drew its fundamental formal substance from the structures of classical practice. Performing standards improved during the classical era with the establishment of performing groups of professional musicians. The role of chromaticism and harmonic ambiguity developed during the classical era. All of the major classical composers used harmonic ambiguity, and the technique of moving rapidly between different keys. One of the most famous examples is the "harmonic chaos" at the opening of Haydn's The Creation, in which the composer avoids establishing a "home" key at all.

By the 1810s, the use of chromaticism and the minor key, and the desire to move into remote keys to give music a deeper range, were combined with a greater operatic reach. While Beethoven would later be regarded as the central figure in this movement, it was composers such as Clementi and Spohr who represented the contemporary taste in incorporating more chromatic notes into their thematic material. There was a tension between the desire for more expressive "color" and the desire for classical structure. One response was in the field of opera, where texts could provide structure in the absence of formal models. E. T. A. Hoffmann is principally known as a critic nowadays, but his opera Undine of 1814 was a radical musical innovation. Another response to the tension between structure and emotional expression was in shorter musical forms, including novel ones such as the nocturne.

Early Romantic (1800-1850)

By the second decade of the 19th century, the shift towards new sources of musical inspiration, along with an increasing chromaticism in melody and more expressive harmony, became a palpable stylistic shift. The forces underlying this shift were not only musical, but economic, political and social.Template:Fact A new generation of composers emerged in post-Napoleonic Europe, among whom were Beethoven, Ludwig Spohr, ETA Hoffman, Carl Maria von Weber and Franz Schubert.

These composers grew up amidst the dramatic expansion of public concert life during the late 18th and early 19th centuries, which partly shaped their subsequent styles and expectations. Beethoven was extremely influential as among the first composers to work freelance rather than being employed full-time by a royal or ecclesiastic patron. The chromatic melodies of Muzio Clementi and the stirring operatic works of Rossini, Cherubini and Méhul, also had an influence. The setting of folk poetry and songs for voice and piano, to serve a growing market of middle-class homes where private music-making was becoming an essential part of domestic life, was also becoming an important source of income for composers.

Works of this group of early Romantics include the song cycles and later symphonies of Franz Schubert, and the operas of Weber, particularly Oberon, Der Freischütz and Euryanthe. Schubert's work found limited contemporary audiences, and only gradually had a wider impact. In contrast, the compositions of John Field quickly became well-known, partly because he had a gift for creating small "characteristic" piano forms and dances.

Early-Romantic composers of a slightly later generation included Franz Liszt, Felix Mendelssohn, Frédéric Chopin, and Hector Berlioz. All were born in the 19th century, and produced works of lasting value early in their careers. Mendelssohn was particularly precocious, and wrote two string quartets, a string octet, and orchestral music before even leaving his teens. Chopin was similarly precocious, his famous Op. 10 Études being written while still a teen, although he focused on compositions for the piano. Berlioz broke new ground in his orchestration, and with his programatic symphonies Symphonie Fantastique and Harold in Italy, the latter based on Byron's Childe Harold's Pilgrimage.

What is now labelled "Romantic Opera" became established at around this time, with a strong connection between Paris and northern Italy. The combination of French orchestral virtuosity, Italianate vocal lines and dramatic flare, along with texts drawn from increasingly popular literature, established a norm of emotional expression which continues to dominate the operatic stage. The work of Bellini and Donizetti was immensely popular at this time.

Virtuoso concerts (or "recitals", as they were called by Franz Liszt) became immensely popular. This phenomenon was pioneered by Niccolò Paganini, the famous violin virtuoso. The virtuoso piano recital became particularly popular, and often included improvisations on popular themes, and the performance of shorter compositions as well as longer works such as the sonatas of Beethoven and Mozart. One of the most prominent exponents of Beethoven was Clara Wieck, who later married Robert Schumann. The increase in travel, facilitated by rail and later by steamship, created international audiences for touring piano virtuosi such as Liszt, Chopin and Thalberg. Concerts and recitals were promoted as significant events. Such was also the case with other instruments than the piano such as the harp. The best illustration can be found with the popular and eccentric French composer and harpist Nicolas Bochsa who travelled most of his life giving hundreds of harp "recitals" and concerts.

During the late 1830s and 1840s, music of Romantic expression became generally accepted, even expected. The music of Robert Schumann, Giacomo Meyerbeer and the young Giuseppe Verdi continued the trends. "Romanticism" was not, however, the only, or even the dominant, style of music making at the time. A post-classical style exemplified by the Paris Conservatoire, as well as court music, still dominated concert programs. This began to change with the rise of performing institutions, along the lines of the Philharmonic Society of London founded in 1813. Such institutions often promoted regular concert seasons, a trend promoted by Felix Mendelssohn among others. Listening to music came to be accepted as a life-enhancing, almost religious, experience. The public's engagement in the music of the time contrasted with the less formal manners of concerts in the classical period, where music had often been promoted as a background diversion.

Also in the 1830s and 1840s Richard Wagner produced his first successful operas. He argued for a radically expanded conception of "musical drama". A man who described himself as a revolutionary, and who was in constant trouble with creditors and the authorities, he began gathering around him a body of like-minded musicians, including Franz Liszt, who dedicated themselves to making the "Music of the Future."

Literary Romanticism ended in 1848, with the revolutions of that year marking a turning point in the mood of Europe. With the rise of realism, as well as the deaths of Paganini, Mendelssohn and Schumann, and Liszt's retirement from public performance, perceptions altered of where the cutting edge in music and art lay.

Late Romantic Era (1850-1910)

As the 19th century moved into its second half, many social, political and economic changes set in motion in the post-Napoleonic period became entrenched. Railways and the electric telegraph bound the European world ever closer together. The nationalism that had been an important strain of early 19th century Romantic music became formalized by political and linguistic means. Literature for the middle classes became the publishing norm, including the rise of the novel as the primary literary form.

In the previous 50 years numerous innovations in instrumentation, including the double escarpment piano action, the valved wind instrument, and the chin rest for violins and violas, were no longer novelties but requirements. The dramatic increase in musical education brought a still wider sophisticated audience, and many composers took advantage of the greater regularity of concert life, and the greater financial and technical resources available. These changes brought an expansion in the sheer number of symphonies, concertos and "tone poems" which were composed, and the number of performances in the opera seasons in Paris, London and Italy. The establishment of conservatories and universities also created centers where musicians could forge stable teaching careers, rather than relying on their own entrepreneurship.

During this late Romantic period, some composers created styles and forms associated with their national folk cultures. The notion that there were "German" and "Italian" styles had long been established in writing on music, but the late 19th century saw the rise of a nationalist Russian style (Glinka, Mussorgsky, Rimsky-Korsakov, Tchaikovsky and Borodin), and also Czech, Finnish and French nationalist styles of composition. Some composers were expressly nationalistic in their objectives, seeking to rediscover their country's national identity in the face of occupation or oppression, as did for example the BohemiansBedřich Smetana and Antonín Dvořák, and the FinnishJean Sibelius.

Musical romanticism reached a rhetorical and artistic nadir around 1960: it seemed as if the future lay with avant garde styles of composition, or with neo-classicism of some kind. While Hindemith moved back to a style more recognizably rooted in romanticism, most composers moved in the other direction. Only in the conservative academic hierarchy of the USSR and China did it seem that musical romanticism had a place. However, by the late 1960s a revival of music using the surface of musical romanticism began. Composers such as George Rochberg switched from serialism to models drawn from Gustav Mahler, a project which found him the company of Nicholas Maw and David Del Tredici. This movement is described as Neo-Romanticism, and includes works such as John Corigliano's First Symphony.